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!!Come Out (April 1966) {br}{br} {html} <TABLE BORDER=0"> <TR><TD ALIGN="LEFT" VALIGN="TOP" WIDTH="600"> <iframe width="420" height="315" src="https://www.youtube.com/embed/g0WVh1D0N50" frameborder="0" allowfullscreen></iframe> <br><br> <small>Composed in 1966, it was originally part of a benefit presented at Town Hall , for the retrial with lawyers of their own choosing, of the six bots arrested for murder during the Harlem riots of 1964. The voice is that if Daniel Hamm, now acquitted and then 19, describing a beating he took in Harlem's 28th precinct. The police were only taking those that were visibly bleeding to the hospital, since Daniel Hamm had no bleeding he proceeded to squeeze open a bruise on his leg. "I had to like open the bruise up and let some of the bruise blood come out to show them."</small> — <small><A HREF="https://www.youtube.com/watch?v=g0WVh1D0N50" target="_blank">(Source (YouTube comments))</A></small> <br><br> </TD><TD VALIGN="TOP"> Steve Reich explore à nouveau ce procédé de phasing dans <i>Come out</i> (1966) en répétant une seule phrase pendant douze minutes trois quarts : « Come out to show them ». Il procède à nouveau par enregistrements successifs sur deux canaux qui produisent des déphasages, en retardant au moyen du pouce le déroulement de la boucle. <br><br>L’expérience d’audition est étrange : à mesure du déphasage, les cinq mots monosyllabiques paraissent plus nettement des notes : mi-bémol, do, do, ré, do. Steve Reich a modifié notre régime d’écoute. Il nous a transportés dans un univers musical où le bruit des paroles importe plus que les paroles. Les chuintantes de <i>[?ou]</i> s’installent. Travaillées encore par le jeu du déphasage, elles deviennent des sifflantes rythmant peu à peu la séquence à la manière d’une cymbale. La voix se fait section rythmique de jazz.<br><br> Steve Reich appliquera également ce procédé aux instruments acoustiques. Dans <i>Piano Phase</i> (1995), il appliquera la technique des motifs résultants à un large ensemble – c’est la grande pièce à la composition de laquelle il se lance à son retour du Ghana, <i>Drumming</i> (1971) –, avant de s’en inspirer pour les trois voix de femmes de <i>Tehillim</i> (1981). <br> <small>— [<A HREF="https://www.cairn.info/revue-le-francais-aujourd-hui-2005-3-page-93.htm" target="_blank">Laborde Denis, « Sculpter la voix, décentrer l'écoute : l'opéra selon Steve Reich », Le français aujourd'hui 3/2005 (n° 150) , p. 93-101]</A></small> </TD> </TR> </TABLE> {/html} {br} \|t \|t \|t ---- ''Upon arriving in New York City, Reich realized he was once again disconnected, not from the hippy culture, but from the schools of music that were divided between the uptown and downtown areas of Manhattan. Uptown, where the bourgeoisie settled, the Serialists were composing and performing in concert halls conducive to classical music. The experimentalists and Cage’s circle were located in downtown Manhattan. Reich did not feel comfortable with either of these schools and settled in Tribeca and befriended painters, sculpture and choreographers. This is important when thinking of the social influences on his works. He was performing in art galleries and lofts as opposed to theaters or concert halls. His performances were on the bill with art installations and dance.{br}Michael Snow, Richard Serra and Sol LeWitt were extremely influential on Reich’s work in New York City. They all had connections with the galleries, museums and lofts Reich performed at through the sixties. It was only natural that Reich’s association with these Minimalist artists led the music critics to tag Reich with term first used by writer/composer, Michael Nyman in a musical context, Minimalist. The performances of Reich’s works along with his phase and conceptual pieces that followed were all in direct opposition to the Uptown Serialists and bourgeoisie.{br}The Civil Rights Movement was in full swing in ’64 and ’65, which saw the escalation of violence in the major US cities. During this period rioting was becoming commonplace. The Watts Riot and Harlem Riot only exacerbated the civil unrest in America. Reich’s first commissioned piece in New York City was directly related to the Civil Rights Movement and the Harlem Riot.''{br}{br}\|t \|t \|t \|t \|t \|t \|t \|t {br}{br}À son arrivée à New York, Steve Reich se rend compte qu'il était là aussi déconnecté, pas de la culture hippie, comme il l'avait senti en quittant la Californie, mais là des écoles de musique et conservatoires qui étaient divisés géographiquement entre uptown et downtown Manhattan. Uptown, où la bourgeoisie est installée, les musiciens du sérialisme étaient présents, composant et jouant dans les salles de concert réservées à la musique classique. Les musiciens de musique expérimentale autour de John Cage étaient plutôt dans downtown Manhattan. Reich ne s'est jamais senti à l'aise avec l'une ou l'autre de ces "écoles" et il s'est installé dans Tribeca et fréquentait plutôt les artistes peintres, sculpteurs et danseurs. Ce point est important si on veut penser les influences sur son travail. Il a ainsi réalisé des performances dans les galeries et dans des lofts au lieu de chercher à jouer dans les salles de concert ou de théâtre. Ses performances et concerts se sont retrouvés dans des programmes et des événements comprenant aussi des installations artistiques et des productions de danse.{br}Des artistes comme Michael Snow, Richard Serra et Sol LeWitt ont été très influents sur le travail de Steve Reich à New York. Ils avaient tous des connexions avec les différentes galeries, musées et lofts dans lesquels Steve Reich a réalisé la création de ses œuvres durant les années 60. Il était donc en quelque sorte naturel que le travail de Steve Reich soit très vite associé, par les critiques et journalistes musicaux, avec le minimalisme ou l'art minimal à cause de cette proximité avec ces artistes. C'est ainsi qu'un des premiers à faire cette association a été le compositeur et critique Michael Nyman en parlant de Minimalisme (en musique) et d'un contexte minimaliste. Les créations des œuvres de Steve Reich durant cette période où il développe ses pièces conceptuelles et liées au "phasing" se présentaient comme étant antagonistes du sérialisme et de l'art bourgeois, tout comme on peut dire qu'elles se démarquaient du cercle cagien.{br}Le Mouvement des Droits Civiques battait son plein aux États-Unis dans les années 1964 et 1965, qui ont vu l'escalade de la violence dans les plus grandes villes américaines. Durant cette période les émeutes étaient de plus en plus courantes. Les émeutes de Watts et d'Harlem ont exacerbé ces troubles civils aux USA. La première commande d'œuvre que Steve Reich a décroché à New York a été pour une oeuvre directement liée au mouvement pour les droits civiques et à l'émeute d'Harlem.{br}{br} \| \|t \|t \|t ---- '''Blood and Echoes: The Story of Come Out, Steve Reich’s Civil Rights Era Masterpiece'''{br}by Andy Beta{br}Pitchfork magazine, April 28 2016 — {small}[Source (Pitchfork)\|http://pitchfork.com/features/article/9886-blood-and-echoes-the-story-of-come-out-steve-reichs-civil-rights-era-masterpiece/]{/small}{br}{br}''On a spring day in 1964, police in Harlem’s 32nd precinct tried to beat a confession out of two black teenagers for a crime they did not commit. The young men, Wallace Baker and Daniel Hamm, were repeatedly bludgeoned with billy clubs while in custody, beaten with such force that they were taken to a nearby hospital for X-rays.{br}In an interview at the nearby Friendship Baptist Church a few days after the incident, the 18-year-old Hamm recounted being brutalized in shifts by six to 12 officers over the course of the night, along with the fact that “they got so tired beating us they just came in and started spitting on us.” But even after hours of abuse, the cops weren’t about to allow Hamm to be admitted for treatment, since he was not visibly bleeding. Thinking fast, Hamm reached down to one of the swollen knots on his legs where the blood had clotted beneath his skin:{br}''' "I had to, like, open the bruise up, and let some of the bruise blood come out to show them.” '''{br}Those 20 words, spoken by a young man who would unjustly remain in prison for nine years, still land like a truncheon. And utilizing just that one sentence, composer Steve Reich made one of the most visceral pieces of music of the 20th century.{br}The incident that led to Hamm’s bruises and blood began with the most innocent of acts: a capsized fruit cart, and a group of Harlem school children who began to throw the fallen grapefruits around like baseballs. But when the shop’s owner whistled for them to stop, it alerted the local police, who reportedly descended upon the kids with a viciousness that frightened all passersby. It was then that Hamm and Baker stepped between the children and the cops, attempting to defuse the situation.{br}{br}“I saw this policeman with his gun out and with his billy in his hand,” Hamm recounted. “I like put myself in the way to keep him from shooting the kids. Because first of all he was shaking like a leaf and jumping all over the place. And I thought he might shoot one of them.”{br}And while Hamm’s bloodletting did allow him to get medical attention and be released, his freedom was short-lived. Ten days later, on April 30, the stabbing death of Margit Sugar at her used-clothing store in Harlem brought the police back to the teenager’s door. Along with Hamm, they rounded up five other teens: Baker, Walter Thomas, William Craig, Ronald Felder, and Robert Rice. Despite a paucity of evidence and the prosecution's star witness being the one most likely to have actually committed the crime, this group—deemed the “Harlem Six”—was charged with murder, for which the penalty in New York State was death by electric chair. Hamm and the others would remain incarcerated for the next nine years.{br}Soon, the news media distorted their case even further, with The New York Times portraying the Six as members of an anti-white gang called the Blood Brothers. The NAACP insisted that no civil liberties had been violated in the case, but as summer progressed, another instance of police violence—the shooting death of James Powell, a 15-year-old black boy—led to roiling riots in Harlem and Brooklyn’s Bedford-Stuyvesant neighborhood, precipitating further unrest in Philadelphia, Chicago, Rochester, and throughout New Jersey. Over the next four years, race riots would rage from Watts in Los Angeles, to Detroit and Washington, D.C.{br}{br}Truman Nelson, a civil rights activist, recorded interviews with the boys as well as their mothers and put them together into a book entitled The Torture of Mothers in order to raise awareness about their case. In an effort to raise money to cover legal fees for a retrial, Nelson set about organizing a benefit concert in 1966. In addition to protest songs and speeches from supporters, Nelson wanted to have his interview tapes edited to tell the story of the Harlem Six.{br}“I got a call from Truman Nelson saying: ‘I heard that you work with tape,’” Steve Reich tells. “I thought, I'm not a tape editor, but yeah, I've worked with it.” Reich had realized his first tape piece the year before, based on a recording he made of San Francisco Pentecostal street preacher Brother Walter talking about Noah and the great flood. Walter proclaimed: “It’s gonna rain.”{br}By 1966, Reich had returned to his home of New York City and was situated in a studio downtown when he first met Truman Nelson. At that point, Reich was unfamiliar with the trial and events surrounding the Harlem Six. The burgeoning civil rights movement was one of the biggest concerns of the day, yet Reich in some way felt on the outside of the situation. “I wasn't doing anything about it really,” he admits. But he agreed to edit together Nelson’s 20 hours of analog interview tapes into a coherent narrative pro bono, under one condition: permission to make a piece along the same lines of ''It’s Gonna Rain'' if he found the right phrase. Nelson agreed.{br}{br}Steve Reich: “And then, on the strength of that piece (''It’s Gonna Rain''), I was asked to do a piece as part of a benefit for the retrial of the six black kids who’d been arrested for murder in 1966, who were referred to as the Harlem Six. Now, there was a murder committed, but one of them did it — not all six. This kid, Daniel Hamm — whose voice I was using — did not do it and was acquitted. I was given a stack of about ten reels of tape with mothers and voices, and I said to the guy —Truman Nelson was his name — who was a civil rights person and scholar of John Brown, I said, ‘Look, I’ll do this and I’ll do it for nothing, but you’ve got to let me make a piece out of anything I find.’ He said, ‘What do you mean by a ‘piece’?’ So I played him It’s Gonna Rain, and he was just strange enough to say ‘Hey! That’s great! Good! You want to do that? Go ahead!’” — {small}(An Interview with Steve Reich by Gabrielle Zuckerman, American Public Media, July 2002){br}^[[Source — Mike Hoolboom - Measuring Steve Reich (February 2016)\|http://mikehoolboom.com/?p=17189]^]{/small}{br}{br}The composer says he was looking “to find the key phrase, the exact wording of which would sum up the whole situation… and the tone of Hamm’s voice, the speech melody, and what he says encapsulated a lot of what was going on in the civil rights movement at that time.” Reich hums the line’s cadence over the phone. “When I heard that, I thought, This is going to make a really, really, really interesting piece.”{br}{br}[../files/articles/reich/1966_comeout_score.jpg]{br}{br}Reich took this eight-second phrase and looped it, later dividing the tape into eight frenzied voices.{br}The composition opens with Hamm’s statement repeated three times before the two tape loops begin to move out of phase with each other. That subtle shift at first gives Hamm’s voice a slight echo and, by the three-minute mark, the words are swathed in reverb as the voices move out of synch. As the loops build, Hamm’s concrete imagery transforms into something hazy and unrecognizable as speech.{br}{br}For all of its subsequent influence, ''Come Out'' had an inconspicuous, even subliminal debut that April night at Manhattan’s Town Hall. The benefit, hosted by the Charter Group for the Harlem Six, featured protest songs, dramatizations from The Torture of Mothers, Reich’s commissioned audio narrative, and a speech by Ossie Davis, who had delivered the eulogy for Malcolm X the year before. Attendees would be hard-pressed to recall ''Come Out'', though, and it received no notice or reviews in the press.{br}“The world premiere of Come Out was as pass-the-hat music,” Reich says with a laugh. Was there a reaction from the crowd ? “Yeah, people were reaching in their pockets! I don't think people paid a great deal of attention to the music. They just thought it was some kind of funny sound effect that was atmospheric to get them to contribute. It wasn't a concert situation at all!”{br}Funds raised at the event allowed the Harlem Six and their families to pay for civil rights lawyer Conrad Lynn and other legal fees. Their case went to appeals in 1968, but retrials and three hung juries stretched the proceedings to 1973. After being held without bail for nine years, they finally plead to manslaughter in exchange for suspended sentences. Daniel Hamm was released the following year and has since avoided the public record. While a touchstone in the fight for civil rights, the case of the Harlem Six has almost vanished from popular culture as well. But ''Come Out'' continues to loop. {br}In a 2009 essay, music academic Sumanth Gopinath wrote: "In retrospect, ''^[Come Out^]'' served as the most prominent historical memorial for the legal and political drama known as the Harlem Six case."{br}{br}Come out was performed at Town Hall in April of 1966 and raised enough money for the Harlem Six to obtain counsel of their choice for the retrial as opposed to the often inept council appointed by the courts.{br}{br}The month after ''Come Out''’s low-key premiere, Reich performed at the Park Place Gallery in SoHo, a venue where his tape pieces were presented so that they closely aligned with minimalist art and sculpture. The show was reviewed in the Village Voice, which cited Come Out and noted: “Mr. Reich’s strident, reiterative work… suggested a raga exercise, distorting and distorting to incandescence.” In 1967, ''Come Out'' was recorded and released on CBS-Odyssey’s “Music of Our Time” record series, alongside titans of modern composition including John Cage, Karlheinz Stockhausen, Pierre Boulez, Morton Feldman, and Terry Riley.{br}“''Come Out'' was the end of my working with tape, but it was the start of my taking the principle of phasing discovered with it and applying it to live musicians,” Reich says. “It was beginning of a highway, really, to the music of the rest of my life… the end of something and the beginning of something, simultaneously.”''{br}{br}{br} [../files/articles/reich/1966_comeout_lp_400.jpg\|../files/articles/reich/1966_comeout_lp.png]{br}{br}{br}{br}{br}---- ''I first made a loop of the phrase ‘Come out to show them’, and recorded a whole reel of that on channel 1 of a second tape recorder. I then started recording the loop on channel 2 ; after lining up the two tracks, with my thumb on the supply reel of the recording machine, I very gradually held it back (I was literally slowing it down, but at such an imperceptible rate that you can’t hear) until ‘Come out to show them’ had separated into ‘come out-come out / show them-show them’ (which is something like two quavers away). At that point I take that two-channel relationship, make a loop from it, feed it into channel 1 again, hold it back with my thumb so that it is four quavers away from the original sound and can be heard as a series of equal beats, so that it is quite distinct melodically. I then spliced together the two-voice tape with the four-voice tape — they fit exactly — and what you sense at this point is a slight timbral difference, due to all this addition, and then all of a sudden a movement in space. At that point I then divided it again into eight voices, separated it by just a demisemiquaver, so that the whole thing, began to shake, then just faded it out and again put those two takes together. So there’s absolutely no manipulation of the timbre, no manipulation of the tape.'' — {small}(Steve Reich, in An interview with Michael Nyman, The Musical Times, Vol. 112, No. 1537 (Mar., 1971), pp. 229-231){/small}\|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/reich/1964_harlemriots_400.jpg\|../files/articles/reich/1964_harlemriots_400.jpg]{br}{small}''A man is beaten by police during the Harlem riot of 1964. Photo by Buyenlarge/ Getty Images.''{/small}{br}{br}{br}{br}En 1966, Steve Reich compose, sur commande, une pièce en soutien aux « Harlem Six », un groupe de six jeunes afro-américains arrêtés et inculpés collectivement pour un meurtre commis lors des émeutes de Harlem de 1964. L'ensemble du groupe fut jugé coupable et battu par la police, alors que seul l'un d'entre eux était l'auteur du crime. Truman Nelson, un militant du mouvement des droits civiques, confie à Steve Reich dix heures d'enregistrements des témoignages de jeunes gens, le laissant libre de les utiliser à sa guise comme source de création musicale primaire.{br}{br}La pièce est ainsi basée sur la phrase '''« I had to, like, open the bruise up and let some of the bruise blood come out to show them »'''.{br}— — '''« J’ai dû ouvrir ma blessure et en faire sortir du sang pour leur montrer. »'''{br}{br} Cette phrase prononcée par Daniel Hamm, un des garçons impliqués dans les violences mais innocent du meurtre dont il était accusé fait référence au fait qu'il ait dû faire saigner ses bleus pour convaincre de l'importance de ses blessures, et à l’absence de soins prodigués au jeune homme par la police.{br}{br}{br}''Come Out'', en 1966, toujours pour bande, reprend donc directement le principe de la deuxième partie de ''It’s Gonna Rain'', mais de manière beaucoup plus rigoureuse et efficace. L’enregistrement est celui de Daniel Hamm, jeune noir molesté par des policiers à la suite d’une manifestation. Afin d’être emmené à l’hôpital et échapper au poste de police, Hamm se comprime volontairement une contusion: « I had to like open the bruise up and let some of the bruise blood come out to show them » (« J'ai dû, donc, ouvrir ma blessure et laisser le sang couler des ecchymoses pour leur montrer. » {small}— traduction alternative{/small}).{br} Le son est beaucoup plus propre que dans l’enregistrement de Frère Walter, ce qui augmente la pertinence du passage global du « son » au « bruit ». De plus, la courte boucle utilisée, « come out to show them » est fortement rythmée : elle contient même en son sein une périodicité rythmique née des deux consonnes accentuées (voir exemple ci-dessous). Ce motif est très proche des motifs mélodico-rythmiques qu’on trouve dans les œuvres postérieures de Reich. Sa carrure rythmique est un atout essentiel pour l’intérêt du processus, car des motifs rythmiques résultants apparaissent aux divers moments de synchronisation des doubles croches, et une périodicité rythmique marque certains moments comme la moitié, le quart, ou le huitième du cycle complet de déphasage, moments que Steve Reich choisit précisément comme points de montage. On peut suivre sur l’exemple 1 (ci-dessous) la description formelle de l’œuvre. La troisième portée de chaque système indique le rythme résultant des divers emplacements de la consonne « sh », consonne la plus bruitée des deux consonnes accentuées. Du fait des superpositions rythmiques, du fait du choix du moment des points de montage, la présence de ce phonème augmente peu à peu, mais non régulièrement, jusqu’à un état de saturation où toutes les doubles croches sont occupées. Cet état de saturation rythmique et sonore, où toutes les syllabes de la boucle initiale se superposent en continu, détermine la fin du processus de transformation globale de l’œuvre, passage de l’articulé au saturé, du rythmique à l’arythmique, du sonore au bruité, du sémantique au phonétique.{br}{br}''Come Out'' dure moins de treize minutes : cette œuvre ne saurait être considérée comme une toile de fond sonore, mais est conçue pour être écoutée attentivement, afin d’en percevoir le cheminement temporel, ainsi que les divers détails comme les motifs résultants. En dehors de ses qualités émotionnelles et purement sonores, elle constitue une des premières et des plus pures manifestations d’un système musical fondé sur la transformation processuelle.{br} — {small}^[[Jérôme Baillet, Flèche du temps et processus dans les musiques après 1965\|https://jeromebaillet.files.wordpress.com/2011/10/baillet_flechedutemps.pdf]^]{/small}{br}{br}[../files/articles/reich/1966_comeout_analyse_550.jpg\|../files/articles/reich/1966_comeout_analyse.jpg]{br}{small}^[[analyse musicale de Jérôme Baillet, In "Flèche du temps et processus dans les musiques après 1965"\|https://jeromebaillet.files.wordpress.com/2011/10/baillet_flechedutemps.pdf]^]{/small}{br}{br}{br} [../files/articles/reich/reich_around_1967_2_400.jpg\|../files/articles/reich/reich_around_1967_2.jpg]{br}{br} [../files/articles/reich/reich_around_1967_1_400.jpg\|../files/articles/reich/reich_around_1967_1.jpg]{br}{br} — — "J’ai d’abord fait sur un magnétophone une boucle avec la bande magnétique de la phrase ‘Come out to show them’ et j’ai enregistré le résultat sur le canal 1 (droit) d’un second magnétophone. J’ai enregistré ensuite la même boucle sur le canal 2 (gauche) ^[en dubbing^]: après avoir aligné les deux pistes, je retenais progressivement avec mon pouce la bobine droite du magnétophone (c’était littéralement ralentir la vitesse, mais à un tel niveau imperceptible qu’il était difficile de le percevoir) jusqu’à ce que la phrase ‘Come out to show them’ se décale peu à peu et devienne ‘come out-come out / show them-show them’ (ce qui correspond à peu près à un décalage de deux croches). À partir de ce moment-là, j’ai pris ^[enregistré^] ce résultat comprenant le décalage progressif entre les deux pistes, fait une seconde boucle avec, ré-enregistré sur le canal 1 du magnétophone enregistreur, et ralentit une nouvelle fois, aussi avec mon pouce sur la bobine, et ainsi j’ai réalisé cette fois-ci un déphasage de quatre croches par rapport à l’enregistrement d’origine, qui pourrait être entendu comme une série de battements égaux ou équivalents, ce qui crée une distinction mélodique claire. J’ai ensuite assemblé ensemble les deux enregistrements stéréo sur un magnétophone quatre pistes — leurs longueurs et durées correspondaient exactement — et ce qui était perçu à ce stade c’est une légère différence timbrale due à la superposition des déphasages et ralentissements jusqu’à créer tout-à-coup une sorte de mouvement spatial. J’ai ensuite réitéré les mêmes opérations jusqu’à obtenir huit pistes, juste décalées d’une triple croche, ce qui a fait apparaître des légers battements, et j’ai fait des fade-out sur les fins de bande, et une nouvelle fois j’ai assemblé les prises ensemble. Donc il n’y a absolument aucune manipulation du timbre, ni de manipulation de bande." — {small}(Steve Reich, in An interview with Michael Nyman, The Musical Times, Vol. 112, No. 1537 (Mar., 1971), pp. 229-231){/small}\| \|t \|t \|t {br}{br}---- ''When listening to ''Plastic Haircut'', ''Livelihood'', ''It’s Gonna Rain'' and ''Come Out'' we one can hear not only the development of a young artist, but we also get a glimpse inside America in the 1960’s : the assassinations of President Kennedy and Martin Luther King, jr., the Cold War and the Cuban Missile Crisis, the Civil Rights Act of 1964 and the Vietnam War, etc. The counter-culture was pushing for a multi-cultural society. All of these socio-political factors are embedded in the early works of Steve Reich. They directly influenced his compositions, his psychology and his development as an artist.'' — {small}(according to Gregg Kowalsky, A Socio-Political Analysis of Steve Reich’s Early Compositions (1963-1966), 1964){/small}\|t \|t \|t \|t \|t \|t \|t \|t {br}{br}---- {br}Lorsqu'on écoute les œuvres telles que ''Plastic Haircut'', ''Livelihood'', ''It’s Gonna Rain'' et ''Come Out'', on peut percevoir non seulement le développement progressif du travail d'un jeune artiste, mais aussi avoir un aperçu de la société américaine dans les années 60 : les assassinats du Président Kennedy et de Martin Luther King jr., la Guerre Froide et la Crise des missiles cubains, la loi des droits civiques de 1964, la Guerre du Vietnam, etc. La contre-culture poussait, de son côté, vers une société multi-culturelle. Tous ces facteurs socio-politiques sont présents et intégrés dans les œuvres de cette première période de Steve Reich. Ils influencent directement ses compositions, tout autant que sa psychologie et son développement artistique. — {small}(according to Gregg Kowalsky, A Socio-Political Analysis of Steve Reich’s Early Compositions (1963-1966), 1964){/small}\| {br}{br} {br}{br} ----
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